“标志性存在”的运动与体验。引言

IF 0.2 0 MEDIEVAL & RENAISSANCE STUDIES

Convivium-Exchanges and Interactions in the Arts of Medieval Europe Byzantium and the Mediterranean Pub Date : 2019-01-01 DOI:10.1484/J.CONVI.4.2019021

H. Belting, Ivan Foletti, Martin F. Lešák

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引用次数: 1

摘要

尽管“标志性存在”的概念以前曾出现在几个不同的领域，但在中世纪艺术史中，它主要在1990年《图片报》出版后开始被讨论，并在《Bildantologie》中得到进一步发展。因此，它成为一个相当广泛的概念。2016年，人们重新讨论了“标志性存在”的概念，引入了其明确的定义：“标志性的存在是指图片中的存在。图片在我们世界中的物理存在指的是它所描绘的象征性存在”。在这个意义上，图像被理解为有形世界和想象世界之间的一个门槛。

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The Movement and the Experience of "Iconic Presence". An Introduction

Although the notion of “iconic presence” had previously appeared in several various fields, in Medieval Art History, it started to be discussed mainly after the publication in 1990 of Bild und Kult, and further developed in Bildantropologie . Consequently, it became a quite widely diffused concept. The notion of “iconic presence” was re-discussed in 2016, introducing its explicit definition: “Iconic presence is presence in and as a picture. The physical presence of a picture in our world refers to the symbolic presence which it depicts” . The image is in this sense understood as a threshold between the tangible and imaginary world.

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Convivium-Exchanges and Interactions in the Arts of Medieval Europe Byzantium and the Mediterranean MEDIEVAL & RENAISSANCE STUDIES-

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0.10

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期刊介绍： Exchanges and Interactions in the Arts of Medieval Europe, Byzantium, and the Mediterreanean.